Musical Characteristics: Bay City Bounce is an original medium-fast
tempo swing composition in the key of D minor. The composition
has great rhythmic interest and exciting ensemble figures. Its
features are improvised solos for trumpet, trombone, alto saxophone
and tenor saxophone. Solo sections are each based on a D minor
blues progression of twenty-four bars. The third and fourth trombone
parts are frequently scored as an ensemble with baritone saxophone
and second tenor saxophone. Optional flugelhorn is written for
the third trumpet part. The ensemble writing is very idiomatic
and improvised sections are based on accessible chord progressions
creating a musical and very playable composition. Rhythm section
parts are fully notated including many stylistic suggestions with
voicing and rhythmic outlines for student performers.

Technical Challenges: The ensemble writing is very accessible
to secondary school performers. All figures are clearly and carefully
marked with a wide range of articulations. Brass range demands
are moderate with the lead trumpet generally playing up to a C/7
but with an optional D/7 (and optional lower octave). Trombone
range is moderate; the inclusion of a bass trombone is suggested
to give added depth to the fourth trombone part. Frequent rests
in the brass parts allow embouchure muscles to recover strength.
Most ensemble writing is block section voicings with a minimum
of independent part movement. Low saxophones and third and fourth
trombone form an independent section for the statement of the
theme and its recapitulation. Special effects included are falls
of various lengths for the brass section.

Improvisational Challenges: The improvisation sections are
based on a twelve- bar blues form in D minor. Twenty-four bar
solos are specified for trumpet, trombone, alto and tenor saxophones,
with an added solo chorus of drum fills. Background ensemble figures
enter for the second twelve-bar chorus of each solo. The solo
key and limited harmonic materials will enable secondary school
performers to perform with some fluidity on this form.

Pedagogical Value: This is a carefully crafted, exciting shuffle
blues composition. Students will enjoy performing this piece because
of its very playable orchestration and rhythmic feel. Excellent
pedagogical value; effective in combination with a study of the
blues tradition. Provides opportunity to observe the given stylistic
suggestions in the score; to define falls, shuffle,
and to work on wide-ranging articulations and fluidity of production.

Jacobs, Bill

Blues It

Duration: 4

Level of Difficulty: Difficult

Availability of Score and Parts: Composer

Recording: No

Musical Characteristics: Blues It is based on an original jazz
tune by Benny Golson. As the title suggests, the composition is
blues related and is structured in a twelve-bar blues form with
the theme and solos occurring in Bb concert and C concert. The
eight-bar introduction in three-quarter time switches to common
time at bar nine for the duration of the piece. The tempo is a
medium walking tempo which could be varied depending
on the ability of the performing ensemble to settle into a comfortable
rhythm. The first alto saxophone part includes a flute double,
but parts are available to substitute soprano saxophone for the
flute part. The first trumpet must play to a Bb/6 concert but
there are sufficient rests for players to recover strength and
prepare for subsequent entries. Rhythm section parts include suggestions
for performance voicings and rhythms but some sections of the
piece provide only chord changes.

Technical Challenges: The wind and brass players must be able
to perform triplet sixteenth notes in the context of a written-out
turn ornament. This difficult figure is written for all sections
of the ensemble. A trombone soli includes quarter-note triplets
for the whole section. All three tenor trombone players must be
able to play up to a unison Bb/6. The fourth trombone part should
be performed on a bass trombone because it includes chromatic
passages to pedal Bb. There is very little independence of part
writing; most rhythmic and melodic figures are performed in sectional
rhythmic unison. The rhythm section parts include specific suggestions
for rhythms to be used although specific voicings are not always
indicated. The ensemble parts are sometimes difficult to read
because some rhythms are notated with double dotted notes and
rests rather than two individual notes or rests to indicate the
duration.

Improvisational Challenges: Improvised solos are based on a
twelve-bar blues progression in Bb or C concert. The progression
contains very few alterations or substitutions and will be familiar
to most advanced high school music students. The tempo is moderate
and the rate of harmonic change is moderately slow. The complete
progression may be performed by students using only one blues
scale for the length of the solo. Solos are written for either
flute or soprano saxophone, and trumpet.

Pedagogical Value: This piece is not difficult to perform in
either the ensemble parts or improvised sections. Composed in
familiar keys for students, it would be useful material to develop
familiarity with the blues form and to experience its inherent
emotionalism. The score gives many players the opportunity to
improvise. The rehearsal and performance could be coordinated
with a listening unit of the many recorded blues styles.

Johnson, Jerry

Moonflower

Duration: 4

Level of Difficulty: Difficult

Availability of Score and Parts: Composer

Recording: Yes

Musical Characteristics: Moonflower is a bossa nova ballad
featuring alto saxophone solo on the main melodic theme and improvising
on the same harmonic material. The sustained melody in D minor
is accompanied by soft full ensemble backgrounds. Brass parts
are very moderate in range and endurance and will be playable
by many secondary school ensembles. The ensemble rhythmic vocabulary
is quite extensive and includes frequent quarter-note triplet
figures in the bossa nova style as well as sixteenth-note trill
figures passed from section to section. Parts are very clearly
notated and include suggested voicings for rhythm section players
and solo ideas for the improvisation sections. The composition
includes many sections with soft dynamics and interesting colour
changes in the orchestration.

Technical Challenges: Moonflower uses a wide range of articulations
in the ensemble writing to achieve an authentic bossa nova style;
these include very short dry staccato notes in contrast to smoothly
articulated tongued legato passages. Smooth sixteenth-note semi-tone
trills are notated for all sections including the trombones. The
trombone section will need to use a legato double tongue on these
figures at the specified tempo marking of quarter note at m.m.
154. The guitar part also includes sixteenth-note semi-tone trills
that must be performed in a measured and controlled manner. The
fourth trombone joins with the baritone saxophone and bass in
some significant soli bass passages. Many contrapuntal counter-melodic
lines are included which are usually scored for complete sections
in unison. There is very little independent writing for individual
instruments except the solo alto saxophone.

Improvisational Challenges: The alto saxophone performs a sixteen-bar
improvised solo with full ensemble accompaniment. The parts include
a suggested solo which student improvisers may use as a resource
to develop improvisational ideas. The solo is marked Ad
Lib or Written. The chords are centred in the area of D
minor concert and change moderately quickly.

Pedagogical Value: A well-written latin piece with a primary
focus on soft legato playing from soloist and section. An understanding
of the bossa nova style through listening to recordings will make
the piece accessible to many high school performing ensembles.
Ensemble and improvisation challenges are on the lower end of
the difficulty rating. Rhythmic challenges for all sections will
require careful and detailed rehearsal. There is excellent pedagogical
value in the study of the extensive rhythmic vocabulary, staccato
vs. smooth, guitar trills, contrapuntal sections, soft dynamics
and how to effect colour changes. The composer provides resource
materials to assist student improvisers.

Mahar, Bill

BTZ

Duration: 6

Level of Difficulty: Difficult

Availability of Score and Parts: Composer

Recording: Yes

Musical Characteristics: BTZ is an exciting modern salsa composition
including high energy brass parts that will not exhaust a secondary
school player. The composition moves from a samba feel
to a salsa feel throughout the piece. The rhythm section
parts contain detailed notations to assist the younger performer
in creating the correct feel. The bass part includes very detailed
salsa bass lines. Rhythmic figures are written at a difficult
level for the ensemble and include eighth-note syncopated patterns
as well as half-note triplets over four quarters. This is a contemporary
modal style of writing which may be less familiar to secondary
students. Class listening to other examples of the style will
be valuable.

Technical Challenges This composition is technically demanding
for all sections because of the dexterity required to perform
at the specified tempo. There is nothing faster than eighth notes
but ensemble lines frequently include non-scalar passages which
increase their difficulty. Many short and aggressive accented
lines require correct use of tongue-stopped notes (marked with
a hat accent) to achieve the stylistically correct
result. The lead trumpet part is written to Bb/6 with an optional
C/7 but is generally centred in a lower range. The trombone parts
include several pedal Bbs for the third and fourth players; the
fourth trombone part should be played on a bass trombone to produce
low notes with greater ease and volume. All players must be confident
enough to function as part of sections throughout the ensemble.
Entries and rhythms on each performers part are often unrelated
to other section performers.

Improvisational Challenges: Improvised solos are included for
soprano saxophone, trumpet, trombone and drum set. The wind instrument
solos are marked for forty-eight bars or open. The
percussion solo is of thirty-two bars duration. The soprano saxophone
solo starts with thirty-two bars accompanied by percussion alone;
the complete rhythm section enters for the rest of the solo. Solos
are based on either one chord for the duration of the solo or
two chords in alternation. The tempo is fast but the harmonic
rate of change is slow. The solos are centred in the keys of F
and C concert which are familiar keys for most secondary school
students.

Pedagogical Value: This composition is a very valuable addition
to the secondary school repertoire, an example of modern instrumental
salsa style combined with creative orchestration and moderate
range demands. It provides opportunity to make connections with
recorded music of Latin-American cultures; its performance will
have musical appeal for both performer and audience. Develops
skills in dexterity with speed, and cross-section voicing. A difficult
composition of excellent pedagogical value which will be a technical
and musical challenge for advanced secondary school ensembles.
This creative and unique composition incorporates many world-music
elements into contemporary jazz ensemble orchestration.

Mahar, Bill

Its You or No One

Duration: 4

Level of Difficulty: Difficult

Availability of Score and Parts: Composer

Recording: No

Musical Characteristics: This is an exciting jazz band composition
in up-tempo swing style based on the vocal standard by Cahn and
Stein. The specified tempo is half note at m.m. one hundred. A
trio of trumpet, tenor saxophone and trombone from within the
band is featured on a harmonised statement of the melody. The
arrangement includes fast moving unison lines for trumpet, trombone
and saxophone sections which lead into a harmonised shout
chorus. Other solos are improvisations for tenor saxophone and
fourth trumpet with ensemble background figures. Detailed dynamic
markings are written for all the parts. Improvised solo sections
include optional repeats and are marked open. The
brass parts are demanding in terms of scale speed of production
in soli sections. Only rarely and briefly do the lead brass parts
move into extreme high range.

Technical Challenges: This composition includes several difficult
unison soli passages for various sections which are primarily
scalar in character; given adequate rehearsal time, they would
be within the grasp of most advanced secondary school jazz ensembles.
A complex harmonised saxophone soli will require detailed rehearsal
if the given tempo marking is to be maintained. The rhythmic vocabulary
of the soli passages consists primarily of constant eighth notes
requiring a high degree of technical dexterity from all the ensemble
players. The first tenor saxophone, fourth trumpet and first trombone
players function independently as a trio with rhythm section backing
and full band backgrounds. The lead trumpet part includes several
C/7s as the highest note. The composition includes a wide vocabulary
of articulations ranging from long legato phrases to very short
and dry rhythmic punctuations.

Improvisational Challenges: The composition is centred in a
key which is familiar to most secondary school students, but the
chord progression does include frequent II-V7-I progressions requiring
knowledge of scales in several keys. The improvisation sections
are based on a thirty-two bar AABA song form; the tempo will require
soloists with speed and facility to perform and improvise successfully
on the given framework.

Pedagogical Value: An exciting up-tempo composition which provides
each section with moments of high intensity playing. The unique
sounds and textures of this fast swing chart should be stimulating
and interesting to secondary school students. Featured soloists
include trumpet, tenor saxophone and trombone on a written melody
and improvised solos from tenor saxophone and trumpet. Useful
pedagogical value for understanding the AABA form of composition,
the detailed dynamic markings, the scalar sections,
for applying the skills of increased speed in particular sections,
and performing the ensemble within an ensemble passages.

Malone, Michael

Easy Living

Duration: 4 30"

Level of Difficulty: Difficult

Availability of Score and Parts: Composer

Recording: Yes, commercially available

Musical Characteristics: A slow ballad setting of the standard
tune by Robin-Rainger which features solo trumpet on the main
theme in a conservative range. Technical demands of only medium
difficulty for brass would allow extensive performance use. The
introduction includes flutes on the upper four saxophone parts
as notated in the score but alternative parts exist which delete
these doublings and allow for performance with soprano saxophone
lead. A double-time feel chorus contains some rhythmically
difficult figures and there is a short but rhythmically complex
saxophone soli section.

Technical Challenges: The trumpet solo, notated as the third
part, requires a player with a strong rhythmic sense to reproduce
the notated rhythms with assurance. The complex figures within
the solo are logical and stylistically consistent. Reference to
the recorded version will aid students and conductor in rehearsal.
Careful rehearsal will be required for the wide range of articulation
vocabulary notated in the ensemble parts and for the specific
dynamic indications for background and ensemble soli figures.
This is a restful piece for brass players; endurance demands are
minimal, but high musical and stylistic demands are implied by
the score.

Improvisational Challenges: This piece features sixteen bars
of third trumpet improvisation, the first eight bars with rhythm
section alone followed by eight bars with brass section background
figures. No suggestions for the solo are given for young performers.
The chord changes, although moving at a slow tempo, provide a
rich variety of scale and note choices which would be more approachable
by an experienced performer.

Pedagogical Value: Technically playable by most ensembles,
but requires musicality in approach and attention to stylistic
detail. A mature and artistic composition that is not overly taxing
on the brass section. A study of the historical background would
be useful. Provides an opportunity to teach independent improvisation
as this composer does not write student-assisted parts in the
score. Very high pedagogical value for advanced secondary school
ensembles with opportunities to analyse the articulation vocabulary,
to develop aural skills of translating vocal to instrumental style,
and to increase awareness of non-aggressive tone production.

Malone, Michael

With A Song In My Heart

Duration: 3 30"

Level of Difficulty: Difficult

Availability of Score and Parts: Composer

Recording: Yes, commercially available

Musical Characteristics: A slow ballad setting of the standard
tune by Rodgers and Hart which features ensemble performance in
a fully orchestrated version of the main theme.The introduction
as notated in the score includes two flutes, two clarinets and
bass clarinets on the five saxophone parts but alternative performance
parts are available which delete these doublings. A double-time
feel chorus contains some rhythmically difficult background
figures and there is a short but complex saxophone soli section.A
wide variation of tempo gradations and rubato within the given
slow tempo will require careful pacing.

Technical Challenges: Many flowing independent lines in individual
parts will provide challenges to the secondary school player.
Woodwind players must show mature independence and sensitivity
to tempo and rubato. Some difficult triplet background figures
in the woodwind parts will require careful preparation. A double
time feel section for the ensemble has very difficult rhythmic
subdivisions and many contrasting articulation markings. The brass
ranges are very moderate, with all notes in the high range approached
by step; consequently, endurance demands are not high. Performance
using the orchestration with extended woodwind doubles will place
it beyond the abilities of all but the best pre-professional bands;
the alternative parts which delete these doublings bring the piece
within the range of secondary school ensembles.

Improvisational Challenges: There are very brief improvised
solos within the rhythm section. The emphasis is on slow, smooth
ballad style from the ensemble, but involving complex harmonic
language.

Pedagogical Value: With a Song In My Heart is technically very
difficult in several bars, but playable by some excellent ensembles
with extensive rehearsal. It requires attention to stylistic detail
and musicality in performance approach. Potential pedagogical
value is very high; provides an opportunity to explore the music
and historical background of Rodgers and Hart, to analyse the
complex harmonic language of the composition, and to work on balancing
the contrapuntal woodwind parts with the brass background.

McGrath, Jim

Red Sun

Duration: 5

Level of Difficulty: Difficult

Availability of Score and Parts: North Toronto Collegiate Institute
Recording: No

Musical Characteristics: Red Sun is an original contemporary
jazz fusion composition based on a modal pentatonic melody. Commissioned
for a secondary school jazz ensemble tour of Japan, the piece
has true multicultural dimensions presented in contemporary jazz
ensemble style. Solo flute is featured in addition to the standard
saxophone section for most of the composition. The flute solo
may also be played on soprano saxophone. The composition opens
with rubato unaccompanied flute which progresses through a straight
eighth variation in both common and six-four time. Improvisation
solos are included for flute (soprano saxophone may be substituted)
and for piano or synthesiser. Rhythm section parts are extremely
well notated, an appropriate aid for secondary school performers.
Ensemble parts contain many optional figures which may be adapted
to suit the endurance and strength of the brass section.

Technical Challenges: The solo flute part ranges from C/5 to
A/8 and indicates overblowing to produce harmonics while trilling.
The solo also includes a highly technical pentatonic sixteenth-note
final cadenza. Most ensemble parts include ornaments, turns, shakes
and falls of varying duration. Saxophone and brass section parts
are of moderate difficulty with enough rests to allow recovery
time for student embouchures. Detailed information for rhythm
section parts will facilitate the rehearsal process. Performers
must be confident interpreters of complex rhythms. The six-four
section of this piece will require careful rehearsal, although
the parts are easy to read and each bar is subdivided into four-four
and two-four.

Improvisational Challenges: Improvised solos include an open
section for flute based on an F major pentatonic scale and an
open section for piano or synthesizer marked spacey,
based on a repeated vamp figure. The solos are centred in a familiar
key; the duration of each solo is adaptable to specific circumstances.

Pedagogical Value: The piece combines several unique styles
in one composition. Rehearsals can be coordinated with listening
to a diverse range of recordings in which elements of this piece
are represented. Useful exercise for flutes to create harmonics
in trills without overblowing, for analysis of the complex rhythms
and vamp figures and for the opportunity to define: spacey, fusion,
pentatonic, and rubato style of performance. The score includes
many teaching aids and suggestions for student performers.

Nimmons, Phil

Friends Departed

Duration: 5

Level of Difficulty: Difficult

Availability of Score and Parts: Composer

Recording: Yes

Musical Characteristics: Friends Departed is a slow ballad
feature for the bass trombone accompanied by jazz ensemble. The
bass trombone plays a beautiful A minor melody which forms the
basis of the composition, a second statement of the melody with
improvised ornamentation, as well as an improvised solo. Rhythm
section parts are very carefully notated with many suggested voicings
and rhythmic ideas. The piece is masterfully orchestrated and
includes many unique jazz ensemble sounds. The ensemble must be
able to perform comfortably at slow tempos and with very restrained
soft dynamics. This composition would not be appropriate for an
ensemble unable to enjoy the challenge of soft and controlled
performance. It would also be possible to substitute baritone
saxophone for the solo part if no outstanding brass player is
available. The solo is legato and vocal in style and requires
smooth tone production.

Technical Challenges: Embouchure and endurance demands in the
brass section parts (excluding the solo bass trombone part) are
of moderate difficulty. The solo bass trombone part requires a
student performer with a competent vocal approach to the instrument
and the ability to improvise fluidly and smoothly; it is not technically
difficult and avoids extremes of high and low range. The range
of G/3 to E/5 would also be playable by a tenor trombone player
who can handle the medium low register. There is sufficient rest
for all the brass players and only limited use of the upper register.
There is an optional two-bar part in the second trumpet which
moves into a higher register than the lead trumpet. There is an
optional clarinet or soprano saxophone part for the saxophone
section. The rhythm section parts are complex but carefully notated
to aid in the production of specified background sounds.

Improvisational Challenges: The sixteen-bar improvised bass
trombone solo is based on a slow progression of chords centred
around A minor. The slow tempo will enable the soloist to concentrate
on the changing harmonic structure. The melody may be used as
a guide to improvising on this pattern and is printed on the solo
part with the harmonic changes above for reference.

Pedagogical Value: This is an excellent composition for developing
jazz ensemble ballad style; a slow ballad with moderate technical
and ensemble challenges which features solo bass trombone in both
notated and improvised passages. A mature secondary school soloist
is required for the bass trombone part. Effectiveness will be
compounded when used with a course of listening to jazz ballads
performed by vocalists or instrumentalists. Pedagogically valuable
for developing a vocal, legato style of solo performance, to develop
the subtlety of soft and controlled accompanying skills, and to
analyse the compositional methods which create the unique colours
in the rhythm parts.

Nimmons, Phil

Harbours (Atlantic Suite, First Movement)

Duration: 5

Level of Difficulty: Difficult

Availability of Score and Parts: Composer

Recording: Yes

Musical Characteristics: An original medium swing
piece featuring improvised solos from piano and trumpet. The piece
is superbly crafted and includes orchestration that is idiomatic
for each instrument. The ensemble and solo figures are technically
very playable as well as musically and stylistically meaningful.
Parts are carefully notated for rhythm section and include frequent
piano and guitar voicing suggestions. The drum part includes triangle
in addition to the normal drum set complement. The trumpet and
trombone sections require plunger mutes; the trumpet parts suggest
flugelhorn for some sections. The piece has a unique sound within
the orchestration created by some independent contrapuntal lines.

Technical Challenges: Trumpet and trombone range demands are
generally very moderate; lead trumpet has one B/7 concert (optional
D#/7), lead trombone does not rise above G/5. The fourth trombone
part requires a true bass trombone because of extended low range.
Endurance demands are not excessive for the brass players; frequent
rests allow time to recover necessary strength. All eight brass
section players will need to develop an ensemble use of plunger
mutes and gain familiarity with notation indicating closed, open
and half-open mute. There is some independent writing for various
instruments, and frequently sections are subdivided to play separate
musical roles. Detailed notation of articulations must be performed
accurately to achieve the desired musical goals.

Improvisational Challenges: The first improvisation is an unaccompanied
eight-bar piano and bass solo, with guitar addition for the following
eight bars. The piano solo is based on moderately slow harmonic
changes and repeated patterns. This is followed by an improvised
solo for fourth trumpet for a thirty-two bar AAA1A form based
on a repeated two-chord progression for the A section
followed by an A1 section with slightly more rapid
chordal change. The A1 section indicates scale suggestions
on the performance part. A sixteen-bar improvised section of drum
fills is included with ensemble background accompaniments..

Pedagogical Value: The piece is useful for learning swing style
in combination with the opportunity to perform repertoire by a
major Canadian composer and to observe the integration of classical
and swing motifs. Moderate technical challenges in the context
of a very musical composition. Excellent pedagogical value in
that it requires a performance approach which emphasises musicality
over technical flash.

Nimmons, Phil

Horizons (Atlantic Suite Fourth Movement)

Duration: 11

Level of Difficulty: Difficult

Availability of Score and Parts: Composer

Recording: Yes

Musical Characteristics: An extended composition in a rock
style featuring lengthy improvised solos for guitar, bass, drums
(triangle) and alto saxophone. Several themes are incorporated:
long overlapping ascending wave-like lines, fog horn
sounds, a folk dance-inspired march, and rock figures. Range and
endurance demands are generally moderate for the brass with a
limited amount of necessary high-range playing. Ensemble rhythmic
figures are complex and will require extensive rehearsal. Extended
improvised solos will require mature student soloists. Chord changes
and some scale suggestions are given in the performance parts.
Improvised solos are in keys (D major concert, B minor concert)
which are less common for student improvisers. Rhythm section
parts are detailed and fully notated; the percussionist has several
short improvised fills and solos. Due to its extended duration,
this composition requires a mature group of performers to maintain
concentration and stylistic consistency.

Technical Challenges: An extensive articulation vocabulary
is notated in all ensemble parts; each phrase will require detailed
rehearsal to ensure consistency of attack and release. Glisses
up to notes and falls off notes are notated in all woodwind and
brass parts. Frequent dynamic extremes and classical articulations
(e.g. sffz ) are included. Brass ranges are generally moderate
with sufficient rest time to recover strength between high range
episodes. Most section writing is rhythmic unison with very little
independent contrapuntal writing. Several sixteenth-note scale
passages for the woodwinds and brass will require detailed slow
rehearsal. The fourth trombone part should be performed on a bass
trombone preferably with two valves to enable the player to easily
perform the notated low B/3.

Improvisational Challenges: Two solos for alto saxophone, one
guitar solo, one bass solo and various short drum fill sections
are included. The opening alto saxophone solo, based on a rubato
four-bar section marked Ad Lib Very Free, is written
on the G#/7 chord, a scale and chord combination less familiar
to student performers. The guitar solo based on two chords of
extended duration is for a minimum of twenty-four bars with an
open section to be included. The extended alto saxophone solo
is notated for seventy-six bars plus an open improvised section.
Harmonic frequency of change is moderately slow but the improvised
solos are of extended duration and based in less familiar key
areas for a total of approximately three minutes.

Pedagogical Value: The unique quality of this piece is its
combination of diverse stylistic elements. Good teaching experience
when combined with use of the commercially available recording.
Unique style and much musical depth which incorporates impressionistic
reproduction of various sea sounds. Valuable for review of D Major
and D Minor scales, to rehearse consistency of attacks and releases,
and to develop the skill of the woodwinds on trills. Excellent
pedagogical value for ensembles with mature improvisers able to
perform extended solos.

Nimmons, Phil

Mods Mode

Duration: 7

Level of Difficulty: Difficult

Availability of Score and Parts: Composer

Recording: Yes

Musical Characteristics: A moderate tempo swing composition
based on a series of short melodic phrases passed from section
to section in an extended blues form. A relaxed feel and focus
on tempo and phrasing are integral to the performance. The stylistic
focus is on a lightly swinging soft style that gradually builds
through the duration of the piece. Very moderate technical demands
on all sections make the composition playable by many jazz ensembles.
Careful dynamic and articulation notations are included in all
instrumental parts. The rhythm section parts are fully scored
and notated with added specific voicings for student performers.
The composition includes improvised solos for guitar, bass and
fourth trumpet. Trumpet range extends to Bb/6 concert (with an
optional D/7); trombone range extends to Bb/5 concert.

Technical Challenges: Moderate endurance challenges are presented
by the trumpet and trombone parts. Most ensemble playing is centred
at mid-range level, enabling student performers to concentrate
on necessary musical elements. The saxophone section must be able
to perform eighth-note triplets at the specified tempo marking
of quarter note m.m. 123. The wind players are required to perform
short falls off notes and short ascending rips or glisses.

Improvisational Challenges: A seventy-two bar solo for the
guitar, a thirty-six bar solo for fourth trumpet and a sixteen-bar
bass solo provide opportunity for improvisation. Soloists are
supported by frequent ensemble background figures. Harmonic rate
of change is slow and only a limited number of scales are necessary
to improvise effectively. The duration of the guitar solo will
require a mature student performer.

Pedagogical Value: An extended length composition exploring
a form of the blues which will require mature soloists and experienced
ensemble players. Valuable for opportunities to analyse the large
vocabulary of ensemble figures; to understand the terms: short
falls, rips, glisses; to work on
the performance of the required special effects and, most important,
to attempt to understand the composers intended interpretation.

Phillips, Brigham

Irish Cream

Duration: 4

Level of Difficulty: Difficult

Availability of Score and Parts: Composer

Recording: Yes

Musical Characteristics: A ballad composition based on a folk
song style melody which features alto saxophone, brass soli and
unison trumpets on varied statements of the theme. Following a
short introduction using soft flugelhorn fanfares, the alto saxophone
states the melody in a rubato style accompanied only by guitar
chords. The melody moves from the rubato statement into a section
in tempo, to revert later to rubato statements. The harmonisation
of the melody is quite complex and contemporary. Flugelhorns are
required in the trumpet section and flute doubles are an option
in the saxophone section. Instrumental parts with no woodwind
doubles are available from the composer. Improvisation is limited
to alto saxophone ornamenting the melodic statements as desired.

Technical Challenges: Moderate range demands in the brass parts
make this composition accessible to secondary school ensembles.
An important solo chordal guitar part will require a mature secondary
school performer. Flugelhorns are required for the trumpet section,
but quiet mutes could substitute if flugelhorns are unavailable.
There is an optional french horn part which is cued in the trombone
section. Instrumental fanfares will require careful rhythmic precision
from the brass section. The lead trumpet part is written to an
Ab/6 (with optional higher notes). Rubato ensemble sections will
need to be rehearsed at length to ensure a common approach to
note placement, dynamics, articulation and timing.

Improvisational Challenges: Improvisation is limited to melodic
ornamentation of the notated solo saxophone part and the accompanying
guitar part. Although the notated melody is simple and folk-like,
the supporting chordal structure is complex; preparation will
be required to ensure that the soloists ornamentation enhances
the melody.

Pedagogical Value: Ballad composition featuring alto saxophone
as a pretty vocal-style composition. Valuable for teaching rubato,
legato ballad style to both soloists and ensemble. Technical requirements
are moderate; demands are higher in the area of musical interpretation.
Excellent teaching value in analysing the unique elements of the
composition, the fanfare components and the contemporary harmonisation.

Phillips, Brigham

Once Again

Duration: 7

Level of Difficulty: Difficult

Availability of Score and Parts: Composer

Recording: No

Musical Characteristics: This ballad features trombone and
flugelhorn in a slow funk style. Intricate rhythm section parts
are well notated to enable student performers to produce the contemporary
funk feel. The improvised alto saxophone solo is marked a
la Sanborn, providing an opportunity for students to study
the style characteristics of this contemporary improviser. The
composition includes five trumpet parts, with one optional if
only four players are available.

Technical Challenges: The woodwind parts require careful attention
to the wide range of notated articulations. Moderate brass ranges
will make performance accessible to secondary school ensembles.
The woodwind parts exist in two versions, one including two flutes,
two clarinets and bass clarinets as doubles, and the other for
five saxophones with optional soprano saxophone on the first alto
and first tenor parts. The trumpet section requires harmon mutes
and one flugelhorn. The solo parts for first trombone and flugelhorn
are very moderate in range. Technical demands are moderate for
all ensemble players but secure rhythmic reading and comprehension
are necessary. The lead trumpet is written to a C/7 concert with
an optional Bb/6. The trumpet section requires harmon mutes and
one flugelhorn. Some pyramid background figures for woodwinds
and brass require several players to demonstrate independence
in placement of notes, but the major part is scored with each
section functioning as a unit.

Improvisational Challenges: An eight-bar solo section for alto
saxophone is included. Harmonic rate of change is moderate, with
each chord typically lasting one bar of the solo section. The
alto saxophone solo is marked a la Sanborn and it
would be advantageous to have the ensemble and soloist listen
to recordings of improvisation in this style.

Musical Characteristics: A samba-style composition based on
the Duke Ellington jazz standard Sophisticated Lady. The piece
is set in a comfortable key for trombone, but will require a competent
soloist to perform a melodic solo for sixty-four bars followed
by an improvised solo of the same length. Rhythmically challenging
for all sections, this arrangement is an exciting up-tempo reworking
of the classic. Repeated sections are used to augment the standard
form and to build a long crescendo to the finale. The trombone
solo states the melody after a short montuno introduction, followed
by an improvised trombone solo, improvised flugelhorn solo, ensemble
chorus and a montuno ending and coda.

Technical Challenges: The piano and guitar parts include complex
written-out figures which typify samba rhythm. The parts are quite
technical and will require dexterity to achieve the indicated
fast tempo. In many cases the parts include extended vamps that
maintain constant eighth-note movement, transposed as the chords
change. Brass endurance demands are moderate for all section players.
Lead trumpet range includes an A/6; lead trombone range extends
to Ab/5. The lead trombone player should be a mature performer
who is able to maintain concentration throughout the two solo
choruses. A bass trombone is required for the fourth trombone
part. No mutes or special effects are needed for the brass sections
although there is an optional flugelhorn part written on the fourth
trumpet part. Most of the ensemble writing consists of full section
figures with very few independent lines for individuals. Ensemble
figures feature a large vocabulary of articulations including
many fast legato scale passages.

Improvisational Challenges: Sophisticated Lady contains improvised
solos sixty-four bars in length for trombone and flugelhorn. The
tempo is fast and the harmonies quite complex, moving through
a variety of key centres. Both soloists will need to be mature
players who possess above-average high school improvisation skills.
Harmonic rate of change is fast and includes altered chords of
substantial complexity.

Pedagogical Value: This piece makes excellent connections with
the jazz historical tradition, modern jazz writing and samba style
and will be enriched by a study of the historic background of
Duke Ellington, and by listening to his recordings. A significant
work for jazz ensemble which is playable by secondary school groups
if the solo trombonist is capable of performing the part; improvisation
is difficult for the solo and rhythm section parts. Valuable for
teaching the large vocabulary of articulations, and for confirming
an understanding of stylistic terms: samba, salsa and montuno.

Read, Paul

Bedtime Story

Duration: 6

Level of Difficulty: Difficult

Availability of Score and Parts: Composer

Recording: Yes

Musical Characteristics: This difficult arrangement of the
Herbie Hancock jazz tune includes only moderate range demands
from the brass players but requires a strong rhythmic concept
from the complete ensemble. Several sections of changing metre
and metronome markings will need careful rehearsal if they are
to be performed with assurance. The composition includes some
woodwind doubles and a flugelhorn solo. The improvisation structure
of the piece will require mature soloists and/or supplementary
instruction from the teacher. The rhythm section will be better
able to play in the correct performance style of this composition
when they have listened to some of the many recorded versions
of this jazz tune.

Technical Challenges: Brass section parts are technically very
playable with no extreme range or embouchure demands. The first
alto and second tenor saxophones play a contrapuntal duet on flutes
during the opening bars, although the composer will provide optional
parts which omit the doubles.

Improvisational Challenges: A difficult improvised flugelhorn
solo is based on complex harmonies structured over forty-four
bars which includes two separate double-time sections and metre
changes from four-four to five-four time signatures. A transcribed
solo is included with the solo changes marked on the flugelhorn
part to provide stylistic source material and harmonic ideas for
a student performer.

Pedagogical Value: This moderately difficult composition depends
on mature student flugelhorn and alto saxophone soloists for successful
performance. It is valuable for introducing the contemporary jazz
style to student ensembles. The style will be best synthesised
by listening to Herbie Hancock records, and by making a study
of the source material given in the improvisation part.

Read, Paul

Sand Castle

Duration: 5

Level of Difficulty: Difficult

Availability of Score and Parts: Composer

Recording: Yes

Musical Characteristics: Sand Castle is a bossa nova marked
Loose Feel with a moderately fast tempo marking of
quarter note at m.m. 132. A very soft, smooth melodic line is
the focus of this arrangement. The complete ensemble presents
the opening theme with optional flutes doubling a flugelhorn lead.
Rhythmic unison figures are interrupted by short contrapuntal
unison statements by the baritone saxophone sections and bass
trombone. All ensemble figures are idiomatically written and appear
to be stylistically linked to the melodic materials. The figures
will be assimilated easily by student groups because the order
of presentation and development of musical materials are controlled
and logical. The piece requires attention to soft legato playing
with some limited use of forte dynamics. Ensemble players will
need to balance forward rhythmic momentum with a controlled soft
approach to performance.

Technical Challenges: Optional flute doubles in the woodwinds
are written in unison but require some confidence and a good technique
if they are to be used. The majority of flute orchestration doubles
the first trumpet/flugelhorn part as an additional colour in unison.
Some complex notated solo bars in bass trombone and baritone saxophone
will require mature, confident performers. The notes are idiomatically
scored and not overly demanding in terms of range but do require
reliable articulation, tone and pitch. The trumpet section ensemble
parts all double on flugelhorn. Dexterity and fingering challenges
are moderate in all ensemble parts. A carefully notated bass part
provides challenging figures for the student performer which will
contribute much to a stylistically correct performance. The piano
part contains no suggested voicings for the student performer
and will consequently require some preparation time to achieve
a musical performance.

Improvisational Challenges: Tenor saxophone is featured in
an initial sixty-six bar solo followed by a tutti ensemble statement,
with an additional minimum of seventeen bars of solo improvisation
in the coda section. There is an optional repeated section in
the coda which is marked in the score as Play At Least 2
Times - Build. Difficult harmonic language with changes
in harmonies appearing frequently and at a moderately fast tempo
will require a mature confident soloist.

Pedagogical Value: A sophisticated bossa nova composition with
a strong jazz improvisation component. Moderate technical challenges
and range demands combined with a difficult extended tenor saxophone
solo require a mature soloist capable of performing the contemporary
bossa nova style. The piano part will require careful preparation
for most secondary school performers as piano voicings are omitted;
bass trombone and baritone saxophone players will necessarily
develop independence through performance of this piece. Good pedagogical
value for secondary schools.

Read, Paul

Song No.1

Duration: 4 30"

Level of Difficulty: Difficult

Availability of Score and Parts: Composer

Recording: Yes

Musical Characteristics: This composition (a movement from
the composers Suite No. 3) features the second alto player
with an extended solo on soprano saxophone. The music was written
for and premiered by a Canadian secondary school jazz ensemble.
A written statement of the slow jazz waltz tune is followed by
twenty-eight bars of improvised solo which continues into a twelve-bar
notated melodic section. The piece concludes with sixteen additional
bars of improvised soprano as a coda. Some complex rhythm patterns
in melodic and background orchestration are quite difficult. Solo
harmonies are difficult but with sufficient rehearsal a secondary
school soloist could perform competently.

Technical Challenges: The brass section will be challenged
in performance even when selecting the alternative lower octaves.
Secure and strong performers are necessary on all brass parts.The
lead trumpet part is notated to Eb/7 with an alternative octave
down notation. A beautiful contrapuntal trombone soli introduces
this piece for four bars; trombone 1 plays up to Bb/5 and the
bass trombone (4th part) descends to C/3. Ensemble rhythmic demands
include four quarters over three, quarter note triplets over a
half note and duple figures superimposed on the three-four jazz
waltz rhythm. Most of the difficult rhythmic figures are section
unison which should make them more accessible to student performers.
Long tenuto phrases contrast in articulation with heavily accented
bell tone figures in brass backgrounds.

Improvisational Challenges: The piece includes forty-four bars
of improvisation for soprano saxophone, notated on the second
alto saxophone part. If the second alto player does not improvise
at the expected standard, the second and lead alto saxophone players
may exchange parts. The changes for the solo are complex and rich,
but the tempo is moderate and harmonies usually change only once
per bar.

Pedagogical Value: With a mature soloist, this piece could
provide an outstanding musical experience for secondary school
performers. The soprano saxophone solo has the dominant role in
melodic line and extended improvisation; the complex rhythmic
patterns make heavy technical demands on soloist and ensemble.
A challenging trombone soli demands work on unity and security
of tone.

Read, Paul

Song No. 2

Duration: 3 30"

Level of Difficulty: Difficult

Availability of Score and Parts: Composer

Recording: No

Musical Characteristics: A composition written in the tonal
style of Keith Jarrett or Gary Burton. Solo piano accompanied
by bass and drums in a moderately fast cut time introduces the
theme, sustaining slow harmonic changes over a bass pedal point.
Moderate brass ranges, optional woodwind doubles and extended
piano solo sections will make this piece quite playable by secondary
school ensembles.

Technical Challenges: Ensemble writing requires that performers
are able to sneak into entries with no audible attack. Stagger-breathing
is also necessary for long sustained chords where the parts indicate
"breathe as necessary." A smooth classical legato style
is required for the ensemble writing. The trumpet section suggests
at least one player doubling on flugelhorn and the complete section
must have harmon mutes. Moderate trumpet and trombone ranges will
allow the piece to be performed in a smooth and musical manner.
The players must have well-controlled dynamic range within a sostenuto-legato
style. Many phrases start at one dynamic extreme and continue
without a break to the opposite end of the dynamic spectrum. All
players must be able to count rests securely to cope with many
staggered and pyramid entries. These entries must be accurate
and without any unnecessary aggression in the attack.

Improvisational Challenges: A forty-eight bar improvised piano
solo (with optional open section) is based on a G major tonality
with slow harmonic movement. A bridge section including some faster
II-V7 movement is followed by a return to sustained G major tonality.

Pedagogical Value: A valuable introductory learning experience
would be listening to styles of Jarrett, Burton, Mangione, and
Corea; the awareness of the style would then simplify the rehearsal
and performance of this contemporary style piano composition.
Although rated in the difficult range, ensemble challenges may
be considered of only medium difficulty for competent ensembles.
Work will be required on some of the less familiar features, e.g.
stagger breathing and pyramid entries.

Read, Paul

Waltz for Kelly

Duration: 4 30'

Level of Difficulty: Difficult

Availability of Score and Parts: Composer

Recording: Yes

Musical Characteristics: An original jazz waltz arrangement
which features a melodic statement and improvised solo on alto
saxophone. Extensive use of the specified woodwind doubles (two
flutes and two clarinets) would place this arrangement out of
reach of almost all secondary school ensembles; the composer has
solved the problem with alternative non-doubling woodwind parts.
Rhythmically complex, the melody contains a wide variety of beat
subdivisions including swing eighth figures, straight eighth figures,
sixteenth notes and groupings of four over three. Background figures
are similarly complex and require some independence within sections.

Technical Challenges: Complex and quick passages in the woodwinds
will require careful rehearsal and confident, secure performers.
Many legato articulated figures and carefully notated individual
section articulations require close attention. The lead trumpet
is written to a D/6 concert but alternative octaves are provided.If
the optional lower octaves are used in the lead trumpet, the endurance
demands are not exceptional. There is adequate rest for brass
players in the arrangement and high tessitura is usually approached
gradually.

Improvisational Challenges: Alto saxophone and piano each improvise
on one chorus of the thirty-two bar form of this piece. Complex
changes which provide a rich vocabulary of harmonic choices will
be a challenge to both improvising soloists.

Pedagogical Value: The original score requires difficult woodwind
doubling, although optional suggestions bring the piece to the
level of possible performance for average secondary school ensembles.
The piece requires mature soloists and strong ensemble players
in all sections. Valuable teaching material for analysing the
difficult aspects of the composition: extremely complex rhythms
and articulations, as well as a rich vocabulary of harmonic choices.
An excellent experience for increasing knowledge of the jazz waltz
style.

Read, Paul

When Youre Smiling

Duration: 3

Level of Difficulty: Difficult

Availability of Score and Parts: Composer

Recording: Yes

Musical Characteristics: A straight ahead swing arrangement
of this traditional standard jazz tune. With the score notated
Ham it up," the piece starts in rubato style, quarter
note m.m. l92 followed by an ensemble section with rhythm section
tacet. The arrangement moves into the Light Dixie
section at quarter note m.m. 176 dixieland tempo with another
switch into a swing big band style. The arrangement features an
extended improvised solo from third trumpet using plunger mute;
various ensemble members have opportunity to present brief solos.
Frequent quotes from other standard tunes from the same era as
When Youre Smiling with a similar philosophical outlook
are included as background figures to solos and section solis.

Technical Challenges: Embouchure and endurance demands are
moderate for the trumpet and trombone sections. Only a few high-range
phrases in climax shout choruses will require significant
strength from the lead trumpet player. Trills are an important
component in the unison saxophone soli introduction. This is followed
by a tutti trumpet section ascending half-valve rip to a high
chord. The trumpet soloist must be capable with the plunger mute;
the trombone section has several extended glisses in the dixieland
section.

Improvisational Challenges: A fifty-six bar solo in the third
trumpet is the only improvised section in the arrangement. The
style of the solo as recommended by the composer includes plunger
mute. A moderately fast tempo with harmonic changes at moderate
frequency makes the solo section manageable by competent secondary
school performers.

Pedagogical Value: A swing arrangement featuring small ensembles
within the band paying homage to several early jazz styles. The
small group feature for multiple performers within the ensemble
would be useful in combination with a series of listening assignments
to acquaint students with early jazz styles. Progression through
the various settings of the tune provides useful instruction in
early jazz styles. Teaching a historical perspective of the era
would be useful and would also assist in the exercise of identifying
the inserted quotes from other tunes. The third trumpet will need
extra work on the extended improvisation passage. The piece also
provides opportunity to work on specific details, e.g., the trills
which are an important component, and the trumpet half-valve ascending
rip.

Tait, Rick

Ana Maria

Duration: 10

Level of Difficulty: Difficult

Availability of Score and Parts: Composer

Recording: Yes

Musical Characteristics: This arrangement is an extended well-crafted
setting of Wayne Shorters contemporary jazz tune. The arrangement
features soprano saxophone (notated on the first alto part) in
the opening melodic statement with rhythm section. Fully notated
guitar, percussion and bass parts will assist student performers
to create a stylistically accurate performance. The piano part
has occasional suggested voicings but is primarily chord changes.
This is a beautiful haunting melody orchestrated with much care
and artistry. Frequent full band multi-octave unison lines provide
a uniquely textured setting of the tune. Improvised solos include
piano, optional bass and soprano saxophone on complex modal harmonies
changing at a moderate rate. Rhythmic figures will be playable
with adequate rehearsal by most secondary school ensembles, although
performers will be challenged in several double time feel
bars.

Technical Challenges: Embouchure and endurance demands for
the brass section are very moderate. No mutes are required for
the brass and the only double in the woodwind section is soprano
saxophone on the lead alto saxophone part. Brass range and endurance
demands are moderate and within reach of most secondary school
ensembles. Ensemble parts are not technically difficult but require
careful stylistic rehearsal to ensure a common approach to the
full band unison lines. Rhythm section players must be secure
and consistent in their rhythmic feel and stylistic approach.

Improvisational Challenges: An extended piano solo, soprano
saxophone solo and optional bass solo will require mature performers
to move easily through the complex harmonies of this arrangement.
The tempo is moderate so that improvised solos should not present
problems if adequate preparation time is scheduled.

Pedagogical Value: This composition presents an authentic contemporary
jazz style in a usable arrangement for most secondary schools.
Recorded material exists to reinforce the musical and historical
ideas behind the arrangement. The piece provides opportunities
to comprehend the stylistic approach, particularly as it relates
to the latin-afro form. It is a useful study of complex
harmonies which will help to increase skills on tutti unison playing.
The moderate technical difficulties make it possible to focus
on interpretation.

Tait, Rick

The Perfect Foot

Duration: 7 30"

Level of Difficulty: Difficult

Availability of Score and Parts: Composer

Recording: Yes

Musical Characteristics: A funk shuffle written in alternating
common and twelve-eight time with similar metric pulse. Occasional
six-eight bars are included in the melodic statement and orchestrations.
An introductory guitar solo followed by drum solo set the contemporary
rock funk mood. The guitar part is carefully and completely notated
to provide an accurate style resource for the performer. Brass
ranges are moderate and ensemble parts focus more on accurate
rhythmic placement than high register endurance. Any extremely
high register notes are provided with lower octave options. Rhythmic
figures are quite complex for all the ensemble sections and will
require detailed rehearsal. They are written in a style which
most secondary school students find attractive and easy to learn.

Technical Challenges: Good facility is required of all instrumentalists
in the performance of this piece. Ensemble melodic and background
figures require technical facility and fluidity. Optional woodwind
doubles are included in the arrangement. Brass section endurance
challenges are moderate, but secure rhythmic feel is necessary.
Placement of figures with the beat in a common approach is critical.
Complex rhythm section parts require confident readers and good
musical skills to allow the parts to lock together at the specified
tempo.

Improvisational Challenges: An eight-bar open repeat section
starts an extended tenor saxophone solo which develops through
sixty-four bars. The harmonies are primarily of long duration
or repeated two-bar patterns requiring limited scalar materials.
A mature soloist will be needed to deal with the extended form
of the solo, or it would be possible to split the section between
two soloists.

Pedagogical Value: Ensemble accuracy will be the primary challenge
of this arrangement, particularly in working on the technical
facility and fluidity required for the complex rhythms at the
notated speed. Valuable to observe Taits attention to detail
in composition, e.g., the accurate style resource he provides
for the guitar part.